Ben Shapiro interviews an eclectic grab bag of people each week on his Sunday Special. (Their main common factor is that they were willing to come on and be interviewed by him.) The interview embedded below is my favorite of all the ones he’s done so far. It’s super long, but if you are interested in the fiction industry or the writing process or the sci-fi and fantasy genres or identity politics or religion, then it will be worth your while.
Orson Scott Card is the author of the super popular sci-fi novel Ender’s Game. I tried to read this novel when I was way too young and I did not get all the way through it. It was hard for me to keep in mind that Ender and his co-trainees were kids when in some ways they acted like geniuses.
Card is also a Mormon, or LDS (Latter-Day Saint) as many of them prefer to be called. This gives him a unique perspective on religion, specifically on what it’s like to be misunderstood as a religious person.
AT 4:18, Card clears up what exactly counts as sci-fi versus fantasy: “The usual is that science fiction is stuff that has not happened but is possible, and fantasy is stuff that doesn’t happen and isn’t actually possible but we can imagine it. And that almost works except for the fact that it’s considered science fiction if you do things like faster-than-light travel or time travel. And those can’t happen. Time travel especially, because the string of causality is unbreakable. … So it’s arguable. But I learned the practical definition right away. The covers of fantasy books have trees. The covers of science fiction books have sheet metal with rivets. So it’s rivets versus trees. If your story is illustratable with rivets then it’s sci-fi, and if it needs trees to be effective, then it’s fantasy.” (N.b.: This is why my books are fantasy even though they feature no wizards.)
11:35 On the fact that fantasy magic systems have rules too: “You can’t just throw magic on the page and make it fantasy. You have to make it fantasy that would pass muster with a science fiction writer, because that’s who’s writing fantasy now.”
At 15:00, he addresses Pantsing versus Plotting: “I try to think ahead. Mostly milieu development. Then I’ll think of obligatory scenes, things that have to happen. And I’ll have to then set up those scenes so that they mean something. So there’s some planning that goes into it. I know writers who think like screenwriters, and their thought is all on the [outline]. I can’t do that, because anything I wrote for anything after chapter two is going to be discarded as soon as I find out what’s going on in chapter one. The process is pretty flexible, because by the time I’m nearing the end of any novel, the outline is now a relic … And I’ve seen, for example, an early novel by Dean Koontz, where it was obvious to me that after developing an amazing cast of characters that readers cared about, he caught up with the point in the outline where they all go into an alien spaceship together, and at that point he was just following the outline and it didn’t matter who any of the characters were.” (N.b.: Card’s method is plantsing, and it is the method I use as well. )
At 37:00, he starts talking about religions in fiction: “If you are going to create a character that has an existing religion, you have a responsibility to make it plausible. In America, we have two generic religions. If you need a hierarchical religion, you use Catholic. If you need a congregational religion, you use generic-Protestant-but-really-Baptist. Those religions are available and we all have some experience with them by watching movies. Jewish, not so much. I would feel a great deal of trepidation making a character of mine Jewish, especially orthodox, because I’ve known enough orthodox Jews to know how rigorous the demands are, what has to be kept in your head all the time. And I do that as a Mormon. I know all of our rules by heart, I don’t even have to think about them any more. But whenever I watch somebody’s fictional treatment of Mormonism, no one ever gets it right. No one even comes close. Getting somebody else’s religion wrong is a terrible faux pas.”
41:56: “That’s one of my minor messages: people have religion, and the fiction writer who retreats from that is cheating himself and his readers.”
43:51: “There are smart people in Hollywood. There are good people in Hollywood. They just don’t have the power to greenlight a film.”
At 52:00, he starts talking about the move towards identity politics in sci-fi: “And many of them, whom I know, are people who are simply writing their conscience. But their conscience is ill-informed.”
55:20 and following, on race: “When every white person in America knows that they are labelled as racist, that means why keep trying? Because no matter what you do, you are going to be labelled as white privileged and as racist. … But I know that now, all white people are getting more and more nervous that no matter what they say, it’s going to be turned on them and used to call them the ugly name racist. And that is pretty much the ugliest name that we have in our vocabulary right now. If you’re looking for your Tourette’s list of words that you should not speak, words which will wound, the f-word is way way low on the list. We are used to the f-word, we hear it all the time. Compared to racist. Wow! That’s serious. That’s savage.”